Critical reception
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As opposed to her previous album, Charmer, which was defined as a "solid, punchy pop rock" album, Mental Illness consists of acoustic guitars, strings and percussion.[17] Ryan Bray from Consequence of Sound defined it as the musical "equivalent of washing your mouth out with soap" and stated that it "smacks of cold reality".[17]
Ryan Reed from Rolling Stone magazine described it as "sad and folky".[1] Katie Rife from The A.V. Club pointed out that Mental Illness is a continuation of Aimee Mann's historic tradition of chronicling life's disappointments, both simple and profound.[5] Mojo writer James McNair described it as "intimate and reflective" and said that it is "easy to get lost in".[20] Steve Horowitz of PopMatters wrote that "Mann is our modern day Dory Previn, whose whip-smart sensibility suggests intelligence and mania at the same time."[25] Craig Dorfman of Paste declared that "Mann has earned her reputation as a master songwriter".[26] Jon Pareles of The New York Times stated that on Mental Illness Mann is "Tunefully Tracing Elegant Despair".[27] Maura Johnston of The Boston Globe wrote that "Mann crafts a melancholic atmosphere that is worth repeated listens."[28] Greg Kot of the Chicago Tribune declared it as one of Mann's "sparest, quietest albums and also among her most beautiful".[16] Allan Raible of ABC News articulated that this record is "firmly planted in mature soundscapes", that "you may find yourself getting lost in this album's sonic textures" and that with Mental Illness "Aimee Mann continues to be one of the most gripping storytellers writing music today".[29] Dw. Dunphy of Popdose notes that, while the music in Mental Illness is gorgeous, this isn't a "feel good" album. But, for those in the right frame of mind, it's "a warm, plush comforter to crawl into when the self-pity stops working."[30]